by Grryo Community | Apr 1, 2016 | Stories, You Are Grryo
I mostly photograph in a big slum, the largest Muslim slum, in Calcutta. Narrow alleys, no wider than the width of one person, separate little houses.
There are no doors to these houses, only curtains. The alleyways are dark, even at night, only a light shining through a half open window might show the way. I stand in dark corners and photograph women at the counter of stores, or the visible legs of a man, sitting by the entryway of his home, behind half parted curtain.
I photograph lit windows, or passageways through which you see a broken chair, a wooden cot–parts of a home. These images contain all the possible stories I’d never know and lives I’d never live.
I am, by nature, shy. I don’t generally start conversations with strangers; a ‘people-person’ is not quite the accurate description for me. The camera is my buffer against the real world. It allows me to, in a sense, permeate through that curtain—that flimsy cloth of privacy— without really being noticed.
When I traded in the iPhone for a real camera, however, it was hard to go unnoticed. I was visiting the slum almost daily. My rolled up jeans and careless coiffure made me inevitably stand out from the sari and salwar clad women of the area. Soon the little children were pestering me to take their pictures. Women would push each other in front of my camera. Take a picture of her. Take a picture of her. Sometimes I would acquiesce.
Will you come to my house? A woman asked.
I was standing by a tea stall sipping chai. Mapping out my walk for the day. She pointed towards an alley beside a large construction site. A small shack, made of canvas and plastic stood at its corner, separated from the construction site by six feet of bamboo fence.
Will you come and take photographs of my house? You see, I have lived there for twenty five years but they are making me move.
She led the way and I followed.
The only furniture in the house was a large bed, a wall cabinet mounted on top of it and an iron cupboard in one corner. Clothes, enviably folded, were stacked neatly in a corner. Steel crockery shone from the cabinet. I took several pictures and in a few days, I returned to give her the prints.Then came more photo requests from others near by, more prints and more visits- a still ongoing cycle.
Invariably I’d be invited into someone’s home for tea, or to photograph a family gathered on the bed. These were strangers’ homes, homes of people with whom I’d have no connection with were it not for the camera. As someone who writes fiction, I had previously no intention of being a documenter of lives. Yet here I was, now the chronicler of the people of Park Circus Basti.
They were almost identical, these homes. Single rooms, no larger than a 100 sq. ft, where a family of four or more lived. On one end was always a big double bed. Sometimes, an old grandfather would be reading on it, sometimes, a young child sleeping, a scarf covering her face from the light. Those awake, sat on the floor watching television—mounted on the wall. A young girl might have been studying for her school. Every detail of their lives completely visible to me.
The camera, my wall against the world opened up a new form of intimacy between the slum dwellers and myself.
Portraits in themselves are an intimate form of photography, one I can’t say I’m very adept at. The very act of being photographed says—here is a record of me. And by recording it, a private moment has been exposed.
Portraits, by nature, unlike street photography, which is what I prefer to do, require a closeness between the photographer and the subject. A physical closeness, because you have to get closer to the subject…
…and the other kind of closeness- intimacy. A photographer sees his subject with a certain eye and he tries to capture a moment which speaks to him of what he sees. There is a connection, an interaction between the two— an intimacy that is recorded in the picture. and then exposed to the public.
A portrait is a dichotomy of the intimate inner and exposed outer. What is visible: the way one holds a cigarette, or slouches their chin when they are asleep and what can only be imagined: who was that woman peering out from the saris, hanging up to dry? She looks so enchanting. I must capture that. And that ‘that’ is what the photographer tries to create an intimacy with his subject for, to replicate in image.
As I wander through the traffic-less alleys, I cannot but help but think that no middle class or upper class home in the city would do such a thing—invite a stranger in, expose every little detail of what goes on behind closed doors.
I’m accustomed to an aunt visiting unannounced, or sweets sent across from a family friend. In India, we always keep doors open, in that sense. But there are always barriers: guests sit in the living room; if someone is sleeping, the bedroom door is always shut. As far as class is concerned, the barriers are even more rigid: a worker always stands outside the room; the gardener is never allowed to enter the house. But the people of Park Circus Basti keep their doors unabashedly open.
Contact:
Instagram: @bukusarkar
Web: www.bukusarkar.com
by Grryo Community | Mar 28, 2016 | Stories, You Are Grryo
Postal is a project about short messages, or fragments (from the Latin word fragmentum, meaning “an isolated or incomplete part of something”). What is that something? In this case, it is our own daily realities. The daily realities of three different people. Each of us in a different part of the world, sending to one another our own pieces of a puzzle we share, which becomes real as the very process is taking place.
In each instance, a different private moment, selected or highlighted at random, becomes a new piece of that puzzle: a vanishing point of a singular reality, its fate to become part of a bigger picture. Part of a three-headed creature that will, at least for a while, inhabit a single body.
The old habit of sending postcards seems very apposite to our purpose; that gesture of travellers, beautiful in its simplicity, of sending something simply to say, “I’m thinking of you now”. Far from a long letter all about oneself “à la Sévigné”, it is precisely this mere glimpse, this awareness that something is incomplete, which allows us to experience a sense of process. Because this game we are playing creates its own meaning only at the time, and at the rhythm, in which it is being played out. Each postcard on its own is simply a decontextualized image of a mute hieroglyphic.
Derrida said that what he liked most about postcards was the fact that they were made to circulate like an open but illegible letter. We agree.
“ While you occupy yourself with turning it around in every direction, it is the picture that turns you around like a letter, in advance it deciphers you, it preoccupies space, it procures your words and gestures, all the bodies that you believe you invent in order to determine its outline. You find yourself, you, yourself, on its path.“
Jacques Derrida. The Post Card: From Socrates to Freud and Beyond
Perhaps what attracted us to this project was nothing more than an excuse to wander through the streets we are in, be they in Rome, Paris or London, whether it is somewhere close to where we live, or somewhere we may happen to be at any given moment. It is about an exchange of ideas and feelings within a context that is all to do with a plurality of expression, which is open to diversity, without rules or regulations. It is, quite simply, an exploration of individual urban spaces – female spaces – from different cities.
In this journey, nothing is planned, nothing expected. There is no preparation, no schedule. There is a beginning, but there is no end.
Gemma Antón @g_e_mm_a
Orietta Gelardin Spinola @orietta.gs
Ione Saizar @ionecell
P.S
It’s difficult to say where everything started… Either way it is not so important. The key element may be the desire to communicate to each other. We do think in each other and each postcard is a unique proof of it. In whatever way we share it.
It is a creative action on a primary stage at the moment. We want to humor ourselves while enjoying the “process”. Like a jam ballet. It’s a gesture, a glimpse. It’s an artistic offering we do to each other. No questions are asked.
What will it be when it grows up? We don’t know, and we don’t need to know. We just love to see it growing up freely. It will talk when it’s ready.
Click below to view images full size
Gemma Antón Serna
Born in Valencia is currently Living in Paris.
She combines her work in architecture with photography and collage.
Has participated in some collective shows. Her work appears in some printed and online publications as #4 eyesightZine
At the moment she is collaborating in some artistic Projects as h4rt “the hothouse for rough translations” while she continues working solo.
http://cargocollective.com/gemmaantonphotography
http://cargocollective.com/gemmaanton
http://www.hothouseforroughtranslations.org
Orietta Gelardin Spinola
Is a Graphic Designer born in Madrid (Spain) from an American father and an Italian mother, currently living between Madrid and Rome (Italy).
After having studied a Bachelor of Arts in graphic design between London and New York City, she settled in Madrid to pursue her professional career.
She has participated in various group shows.
One of her photos has been included in the ‘Out of the Phone’ mobile photography book.
Her work has been featured in magazines such as The Guardian, La Repubblica, Huffington Post Italia, L’Oeil de la Photographie, Indie Rocks…
At the moment she works in her graphic design studio (Alcorta & Gelardin).
https://www.instagram.com/orietta.gs/
https://www.lensculture.com/orietta-gelardin-spinola
http://oriettags.tumblr.com
Ione Saizar
Was born in San Sebastian, Spain. She earned her BA in Photography at the London College of Printing and she completed her Master in Image and Communication at the Goldsmiths College, London. Actually she lives and work as a freelance photographer in London
www.ionesaizar.com
by Grryo Community | Mar 21, 2016 | Featured Articles, Stories, You Are Grryo
My friend often says to me: “You’re an expressionless man.”
Certainly, it might be so. I can’t laugh very well.
My friend asks me: ” Why do you always have a sad face? “
友達が、僕によくこう言う。「あなたは無表情な人ね。」
確かにその通りだと思う。僕は上手く笑うことができない。
友達が僕にきく。「なんでいつもそんなに悲しそうな顔をしているの？」
MYSTERY TRAIN
I took this photograph on my way home from work in January 2015. Around this time, I was absorbed in taking photos using the randomize function of the Hipstamatic app, with an iPhone 5s . When I was able to take this, I was very excited: “It’s really cool picture!” To me, this photograph is an image like the Jim Jarmusch film “MYSTERY TRAIN“. Or, an image representing Tom Waits song, “Downtown Train”. ” MYSTERY TRAIN ” is one of my favorite films.
この写真は、2015年の1月、仕事帰りに撮った。
この頃、僕は、iPhone5sに入れていたHipstamaticアプリのランダマイズ機能を使って写真を撮ることに
夢中になっていた。
これが撮れた時、「すげー。かっこいいの撮れちゃったよ！」ってとても興奮したのを憶えている。
僕にとってこの写真の列車は、ジム・ジャームッシュの映画『MYSTERY TRAIN』に出てくるやつのような
イメージだ。
それか、トム・ウェイツの『Downtown Train』っていう曲のような感じかな。
『MYSTERY TRAIN』は、大好きな映画のひとつだ。
TRAIN STATION
Here is our favorite place. The good old bowling alley in our town. Don’t you think it also looks like a station platform? My wife and son are standing. We’ll ride the “MYSTERY TRAIN” at this station.
ここは、お気に入りの場所。
僕らの町にある昔ながらの古いボーリング場だ。
なんかさ、列車の駅のように見えると思わない？
僕の妻と息子が立っている。
僕らは、この駅で『MYSTERY TRAIN』に乗る。
THE KING
Before we get on the “MYSTERY TRAIN” we take a commemorative photo. This boy is my son. He is my supporter. He gave me a life there along with the photographs. In this photograph he’s so cool, as Christian Slater who appeared in the movie “TRUE ROMANCE“. I’m in the sunglasses lens. My wife is beside me. She’s also my supporter. She’s the first person who praised the photos I took.
『MYSTERY TRAIN』に乗る前に、僕らは記念写真を撮った。
この男の子が僕の息子。恩人だ。彼は、僕に「写真と共にある人生」をくれた。
この写真、まるで彼が映画『TRUE ROMANCE』に出てくるクリスチャン・スレーターみたいですごくかっこいい。
サングラスには、僕が映っている。
僕の隣には妻がいる。彼女もまた、僕の恩人だ。
彼女は、僕の写真を褒めてくれた一番最初の人なんだ。
IT’S OH SO QUIET
View from the “MYSTERY TRAIN” . Every time I see a Ferris wheel, I take a lot of photos. I like the eternity and very quiet feeling of a Ferris wheel. It’s an image that reminds me of the Bjork song.
『MYSTERY TRAIN』からの眺めだよ。
観覧車を見かける度に、僕は何枚も何枚も写真を撮る。
なんかさ、観覧車のさ、はてしなく永遠な感じとかとてもとても静かな感じがさ、好きなんだよね。
ビョークの曲『IT’S OH SO QUIET』のようなイメージだ。
HUMANITY
When we get off the “MYSTERY TRAIN“, the trumpeter robot greets us. My wife and I take a little time to warm up to the robot. But our son was friendly with the robot immediately.
『MYSTERY TRAIN』から降りた時、ラッパを吹くロボットが出迎えてくれた。
妻と僕は、ロボットと意思疎通するまでに少し時間がかかった。
だけどさ、僕らの息子は、あっという間にロボットと仲良しになっちゃったんだ。
NAKED CITY BLUES
ACROSS THE UNIVERSE
THE GUIDING LIGHT
Then we walked the city. We buy ice cream from the vending machine, cross the front of the planetarium, and climb the long stairs. It is a familiar location, but it feels like a whole new world.
それから僕らは、街を歩いた。
自販機でアイスクリームを買って、プラネタリウムの前を横切り、長い階段を登った。
どこも僕らには馴染みの場所だ。けど、全く新しい世界のように感じた。
LOVIN’ SPOONFUL
INNOCENT WHEN YOU DREAM
We stay in a strange hotel. The room is full of balloons. My son plays with the balloons, until, too tired to play, he falls directly asleep. A balloon was swaying happily to meet my son rolling over…
Taking photos greatly changed my life. I began to cherish life. I think it gave me the ability to see things in a variety of perspectives. I would only see one side of things, but then I take a picture. Every place is a playground for me now.
A philosopher thinks on every point of view to find the essence of things. A comedian talks with an interesting perspective to make people happy. I want to be able to take pictures like both a philosopher and a comedian.
I began to take pictures because my wife gave me a compliment for photos I took of our son. Huge thanks to my family.
僕らは、変なホテルに泊まった。部屋中、風船だらけでね。
息子はひとしきり風船と遊んで、遊び疲れてそのまま眠ってしまった。
彼の寝返りに合わせて、風船が楽し気に揺れていた・・・。
写真を撮るようになって、僕の人生は大きく変わった。人生を大切に思えるようになった。
物事を色んな視座で見れるようになったんだと思う。
写真を撮るようになる前は、僕には物事の一面しか見えなかったんだ。
今じゃ、いる場所いる場所どこだって、僕の遊び場だ。
哲学者はさ、物事の本質を見つけるためにあらゆる視点から考えるでしょ。
お笑い芸人は、人を笑わせるために面白い視点で話をするじゃん。
僕は、そんな風に写真が撮れるようになりたい。
息子の写真を妻が褒めてくれたから、僕は写真を撮るようになった。
家族には、感謝の他ないよ。
BRAND NEW DAY
MORNING HOTEL
Now.
A new day begins today.
HAVE LOVE WILL TRAVEL
MYSTERY TRAIN IS RUNNING
My friend often asks me this: ”Why do you always have a sad face?”
I answer: “I’m happy at any time. This face is my face.”
And I laugh just a little bit.
友達が、僕にこうきく。「なんでいつもそんなに悲しそうな顔をしているの？」
僕は答える。「いつでもハッピーだよ。これが俺の顔なんだ。」
そして、僕はほんの少しだけ笑うんだ。
One Snap, One Love.
Life is art. Record all.
I’m Yoshihisa Egami. Japanese man. I love rock music, cinema, and taking photos. I’m an Instagrammer. @YOSHIBOWORKS on Instagram. I’m very excited to meet you on Instagram!
Thank you for reading my contributions.
僕は、エガミ ヨシヒサ。日本人だ。
ロック音楽と映画、そして写真を撮ることが大好き。
インスタグラマーで、YOSHIBOWORKS って名乗ってる。
君とInstagramで会えることをとても楽しみにしているよ！
僕の寄稿を読んでくれて、ありがとう。
by Grryo Community | Mar 15, 2016 | Stories
Street photography is the art of shooting or taking pictures in public places. I, Muhamad Yasin, define street photography as the category of image that is in the public sphere, and usually a candid shot (without the subject knowing). While it defines the state of the human subject in the public sphere, there are also many approaches in terms of street photography. The approach can be in terms of journalism, architecture, portrait, still life and others that are all in a public space.
Street Fotografi adalah pengambilan gambar atau seni memotret pada lingkup ruang publik. Disini saya, Muhamad Yasin juga mendefiniskan mengenai street fotografi adalah bagian dari kategori foto yang ada di Ruang Publik yang biasanya diambil dengan cara candid (tanpa subjek mengetahui) dan tak hanya mendefinisikan keadaan dengan Objek Manusia pada ruang publik tetapi juga banyak pendekatan-pendekatan lainnya dalam hal street fotografi. Entah itu pendekatan ke sisi Jurnalistik, Arsitektur, Portrait, Still Life misalnya tanda rambu lalulintas dan dan sebagainya yang berada di ruang publik.
Some of the photos below have several approaches to street photography itself. Whether portrait, architecture or another style, they can be assessed based on the composition and approach of each picture. People’s judgments will vary regarding this.
Beberapa foto dibawah ini mempunyai beberapa pendekatan street fotografi itu sendiri, portrait, arsitektur atau lainnya dinilai dari komposisi berapa persen yang ada pada tiap gambar sisi pendekatannya. Penilaian orang akan berbeda-beda mengenai ini.
Maybe someone will say some of the above photos are portraits, but in my opinion it is a street portrait photography approach. Or, some will also say they are simply photos of architecture; but I think it is an architectural approach to street photography. All opinions will vary depending on the individual person’s views. But, remember, street photography has lots of approaches.
Mungkin ada yang bilang beberapa foto diatas portrait tapi menurut saya street fotografi dengan pendekatan portrait, atau juga ada yang bilang foto arsitektur tapi menurut saya itu street fotografi pendekatan arsitekstur. Semua penilaian akan berubah tergantung mereka yang menilainya. Tapi, ingat street fotografi memiliki banyak pendekatan.
In street photography many have said: hunting photos in the same location repeatedly, do not you get bored? I don’t ever get bored, however. Why? Because, while in the same location, we never know the situation and the moment that we are going to come across. That is the uniqueness of street photography. Regardless of the method of taking pictures, with a few friends I mostly explore the area of Jakarta, often capturing in the same location. However, the results are moments that have not been obtained in a previous hunting in the same location.
Dalam street fotografi banyak yang bilang : Hunting Foto dalam 1 lokasi yang sama berkali-kali, apa kamu tidak bosan? Jangan pernah bilang bosan, kenapa? Karena, dalam lokasi yang sama kita tidak pernah tahu situasi dan moment apa lagi yang akan kita dapatkan karena disanalah uniknya sisi Street Fotografi. Diluar dari cara pengambilan kita tentunya, seperti halnya diriku paling sering mengeksplore kawasan Jakarta dengan beberapa teman dan terkadang mengulang dilokasi yang sama. Tetapi, hasilnya moment-moment yang belum pernah didapat dalam hunting sebelumnya dilokasi yang sama.
In Indonesia there are many laws that are not standardized in terms of street photography, because as a nation we uphold decency and politeness. For example, we sometimes capture the subject of street people and homeless beggars, but many oppose it because it is seen as a type of human exploitation. My personal view on the matter is that the viewers themselves are looking and judging them from the final image by enforcing their views impressed on a photograph as human exploitation. The important thing is the process behind creating the image. Only then, we can judge (for exploits) or appreciation (because you want to show a good message in it). In addition, these rules are not the rules that I believe God has is required of all religions to abide by. But still, I say we should take the good and useful points from any existing rules, and the most important point is “don’t let such rules limit your work”.
Di Indonesia sendiri ada banyak peraturan yang bentuknya memang tidak baku dalam hal street fotografi karena Indonesia lebih menjunjung tinggi kesopanan. Misalnya, kita melakukan pemotretan street dengan subjek orang-orang pengemis dan tunawisma banyak yang menentang hal tersebut karena dipandang sebagai Eksploitasi manusia. Pandangan saya secara pribadi mengenai hal tersebut adalah banyak dari mereka yang memandang dan menilai dari hasil akhir foto tersebut. Mungkin jika kita lebih dekat untuk melihat proses dan alasan baik mereka bagaimana mereka mengambil foto tersebut dan maksud dari pengambilan gambar tersebut (biarkan public dan pembaca yang menilai setelahnya). Yang terpenting adalah, proses dibelakangnya sehingga foto tersebut terbentuk. Barulah, kita bisa menghakimi (karena mengeksploitasi) atau memberikan apresiasi (karena ingin menunjukan pesan yang baik didalamnya). Selain itu peraturan-peraturan tersebut bukan aturan Tuhan yang memang diwajibkan semua umatnya untuk mematuhi aturan tersebut. Tapi tetap ambil sisi yang baik dan bermanfaat dari setiap aturan yang ada point terpenting “Jangan Sampai Aturan Tersebut Membatasi Karyamu”.
Does street photography always need to be in black and white? Many have asked that question. I personally think street photography was preceded by a film camera when it was only in monochrome. Thus, people also think and interpret it that way based on the past. For my images, I choose to turn them into black and white if the image does not have beautiful colors (monotone color). However, if my photo has beautiful colors in it, I prefer to leave it as it is, because those colors will also tell a story of that particular moment.
Street Fotografi apa harus selalu menggunakan tone Black and White? Banyak sekali yang menanyakan hal tersebut, menurut saya pribadi Street Fotografi memang diawali oleh kamera film yang saat itu hanya Hitam dan Putih saja. Jadi, kebanyakan mendefinisikan dan mengartikannya seperti itu, tapi kalau kalian memahami seperti itu jelas salah besar kenapa kategori foto lain (selain street fotografi) yang mungkin berkembang pada masa kamera film Hitam dan Putih tidak menggunakan BW saat ini? Kesimpulannya jika seperti saya hanya buat gambar saya menjadi Hitam dan Putih jika memang pada gambar tersebut tidak memiliki warna-warni yang indah (warna yang monoton) jadi saya memilihnya untuk mengubahnya ke Hitam dan Putih. Namun, jika foto street saya memiliki warna yang indah saya lebih suka membiarkanya dengan warna tersebut, karena dengan adanya warna juga akan membuat sebuah cerita yang ada pada foto tesebut.
My personal take on street photography is taken in the public scope, with a variety of approaches for each of the photos taken in public places. Street photography does not have to use black and white tones. Street photography does not have to look elsewhere because, in the same location we can get a lot of moments. And most importantly, don’t make any rules in photography that can limit your work because it should not be like that: take the positive and usefulness of each of the existing regulations. Both in terms of global photography and the traditions of each country, let your heart give color to every picture you take in various public places.
Kesimpulan dalam street fotografi menurut saya pribadi adalah ruang lingkupnya berada di publik, dan dengan macam-macam pendekatan masing-masing dari hasil foto yang diambil diruang publik. Street fotografi tidak harus menggunakan tone Hitam dan Putih seperti penjelasan saya diatas, Street fotografi tidak harus mencari tempat lain karena di satu lokasi yang sama pun kita bisa mendapatkan banyak sekali moment. Dan yang TERPENTING jangan jadikan sebuah aturan dalam fotografi yang bisa membuat karyamu terbatasi namun tetap ambil sisi baik dan manfaat dari tiap peraturan yang ada. Baik dalam fotografi global maupun tata krama ditiap Negara dan bagian daerah dari tiap Negara yang ada. Biarkan Hatimu yang memberi warna pada setiap gambar yang kamu ambil pada ruang publik tersebut.
About Muhamad Yasin :
My name is Muhamad Yasin, but people know and often call me Kang Yasin. I was born in Jakarta and am 25 years old. Lately, I feel Street has taught me to smile to the subject that I take a picture of, a smile that I can give every time I shoot street with human subjects.
Tentang Muhamad Yasin :
Nama saya Muhamad Yasin namun orang-orang mengenal dan sering memanggil saya Kang Yasin, Lahir di Jakarta dan berusia 25 tahun. Akhir-akhir ini saya merasa Street telah mengajarkan saya untuk tersenyum kepada subjek yang saya ambil gambarnya, senyuman itu yang bisa saya berikan setiap kali saya memotret street dengan subjek manusia.
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by Grryo Community | Feb 22, 2016 | Stories, You Are Grryo
“We would have said that I existed of two manners, between what I was for me and what I was for the others. There was no relationship.”
– Simone de Beauvoir
I think of defining myself by these few lines…
In my head is a winter decor, a Baudelaire’s Spleen that I mask by my daily life, my social life; two completely different and opposed aspects which find themselves in a person: me!
I make self portraits, and I try to transmit a sensation, a moment of thought.
I am ‘schizophrenic’; it’s as if my different faces show themselves through my photos.
To escape a too traditional and classic life which sometimes suffocates, I calm down thanks to my selfs, living as something else, a moment suspended in the labyrinth of my own mind.
It is not a thought out approach, it is really the work which I execute on the spot; I start with a very classic self portrait and later, according to my mood, by instinct, I surf through apps. It is always an internal pulse.
Hence this therapeutic need to seize the fleeting moment in which I find myself. It is very intimate.
Then, I pass from one state to the other without any link. It is an exercise which is not studied, I do not make a series of photos; there is no coherence.
My moodboard is a mixture of reading, poetry, music, painting, and photos by which I am profoundly inspired, I suck the life blood out of them in order to spit them out in my own way!
Thanks to iPhoneography, I have been able to thrive on being able to make everything with a single purpose: taking the photo, editing it, and posting it.
I compare it to therapy: appointment with the psychologist, I speak to him and then pay his session.
Every session is different, except for the fact that it is always related to the same person.
I like this unlimited side, instant and unique, which is offered by mobile photography.
I take all my pictures with my iPhone 6. Regarding apps, I think I have an addiction, because I use almost twenty! But I principally use VSCO, iColorama, Mextures, Paint FX, and Noir. It is really a special intimate work which leads to satisfaction or a failure, depending the result…
“On aurait dit que j’existais de deux manières, entre ce que j’étais pour moi et ce que j’étais pour les autres. Il n’y avait aucun rapport.”
– Simone de Beauvoir
Je pense me définir par ces quelques lignes…
Dans ma tête, c’est un décors d hiver, un spleen à la Baudelaire que je masque par mon quotidien, ma vie sociale, deux aspects complètement différents, opposés mais qui se retrouve en une personne moi!
Je fais surtout des self-portraits, j essaie de transmettre une sensation, un état d esprit du moment.
Je suis comme “schizophrène”, c’est comme si je vivais à travers plusieurs visages par le biais de mes photos.
Pour échapper à une vie trop traditionnelle et classique dans laquelle parfois j étouffe je m apaise grâce à mes selfs je vie autre chose, un moment suspendu dans le labyrinthe de mon esprit.
Ce n est pas une démarche réfléchie, c’est vraiment une œuvre que j exécute sur le vif, je part d un self-portrait très classique et après en fonction de mon humeur, à l instinct je me balade dans les applications c’est toujours une impulsion.
D’où ce besoin thérapeutique de saisir le moment fugace dans lequel je suis, c’est très intime.
Et je passe d un état à l autre sans forcément de lien.
C’est un exercice qui n est pas étudié, je ne fais pas de série, il n y a pas de cohérence d une photo à l autre.
Mon moonboard est un mélange de lecture, poème, musique, peinture, photographies dont je m’inspire profondément, je les vampirise pour les recracher à ma façon!
Grâce à l’ iphonographie, j ai pu m épanouir sur le fait de pouvoir tout faire avec un seul objet: prendre la photo, l éditer et la poster.
Je compare cela à une thérapie : Rdv chez le psy, lui parler, payer sa séance.
Chaque séance est différente à l exception que c’est toujours de la même personne qu il s agit!
J aime ce côté infini, instantané et unique que m offre la photographie mobile. Je prend toutes mes photos avec mon IPhone 6. En ce qui concerne les applications, je crois vraiment avoir une addiction car je dois en avoir une vingtaine! Je me sers principalement de VsoCam, Icolorama, Paintfx et Noir. C’est vraiment un travail très intimiste qui se définit soit par une satisfaction ou un échec en fonction du résultat.
You can find me on Instagram | Facebook | Eyeem | Flickr | Ello
